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Mr. Halle's concerts in the Free Trade Hall have worthily concluded with a performance of Mendelssohn's St. Paul. Of this the Guardian says:—
"The principal singers were Mile. Pnrepa, Miss Palmer, Mr. Wilbye Cooper, and Mr. Thomas, Mr. Henry Walker occupying the responsible post of organist. As St. Paul consists for the most part of choruses and narrative recitatives, the airs, ducts, and concerted pieces being, as in Handel's Israel in Egypt, comparatively unimportant, it does not afford so much room for the display of individual talent as the Messiah and Elijah. All was done, however, that could be done. Mile. Parcpa sang the recitatives allotted to the soprano with great breadth, power, and purity, and did ample justice to 'Jerusalem! Jerusalem',' Mr. Cooper sang admirably throughout, as well in the recitatives as in the air, and duets with Mr. Thomas; and Miss Palmer displayed her fine taste and feeling in the music allotted to the contralto. 'But the Lord is mindful of his own' was sung most chastely and expressively. In 'Consume them all, Lord Sabaoth,' Mr. Thomas was perhaps less effective than in 'O God! have mercy upon me,' and in 'I praise thee, O Lord, my God." The choruses were all executed in a praiseworthy manner, especially considering that the singers cannot have had the same amount of experience of St. Paul as of Elijah and the wellknown works of Handel.
"In concluding our notices of these truly magnificent concerts, Mr. Halle may be congratulated upon the success that has attended them— a success due alike to the indefatigable perseverance and savoir /aire he has displayed in getting them up, the high character of the music performed, the splendid orchestral band brought together and perfected under his auspices, his own fine pianoforte performances, and the high character of the artists, vocal and instrumental, that have been engaged. It may also be added that the most perfect faith has been kept with the public, the original programme of the series having been carried out to the letter, as the following retrospective glance will show. Beginning with the orchestral performances, and these, notwithstanding the excellency of the vocal element, have, along with the pianoforte performances, constituted the real strength of the concerts, nine grand symphonies have been performed, viz.: Beethoven's Pastoral (twice), the C minor and the eight; Mozart's in C major, G minor, and E flat; Mendelssohn's Scotch and Italian, and Haydn's Surprise, in addition to several selections from symphonies which need not be enumerated. Then a large collection of overtures, comprising twelve that may be termed classical, viz.: Der Freischutz, Guillaume Tell (twice), Euryanthe, Oberon (twice), Leonora, Buy Bias, Die ZauberflSte, Jessonda, Anacreon, Figaro, La Chasse du jeune Henri, and Les Abencerrages ; six of the modern Italian, viz.: Semiramide, Olympia (twice), 11 Barbicre, Otello, Siege of Corinth, and Fernand Cortes; eight French, viz.: Fra Diavolo (twice), Zanetta (twice). The Syren, Le Domino Noir, Zampa (twice), Le Lac des Fees, Le Dieu et la Bayadere and Masaniello; to which must be added Tannhaiisser, which must be classed by itself. In addition to these Mendelssohn's beautiful music to A Midsummer Night's Dream has been introduced, and many smaller orchestral arrangements that need not be enumerated. Following the band performances, the following instrumental concerted pieces may be mentioned:—Beethoven's quintet for piano and wind instruments, Mozart's Ottetto for wind instruments alone, and a selection from Hummel's Septet. The pianoforto performances of Mr. Halle have been numerous and of a high character, viz. Weber's Concertstiick, Mendelssohn's Concerto in G minor, Beethoven's in E flat and C minor, also his Choral Fantasia, Mozart's sonata for two pianos (twice) and one for piano and violin. Besides these, numerous small pianoforte solos have been introduced, drawn from the works of Mendelssohn, Schubert, Weber, Chopin, Heller, Thalbcrg, Lizst, Bach, and Scarlatti. The other instrumental soloists have been M. Lavignc (oboe), Lazarus (clarinet), Piatti (violoncello), Blagrove (violin), Vieuxtemps (violin), De Jong (flute), Miss Arabella Goddard (piano), Otto Goldschmidt (piano), and Herr Heller (piano). Coming to the vocal element of the concert, three complete oratorios have been given, viz.:—Judas Maccabaus. The Messiah, and St. Paul, in addition to one miscellaneous choral concert, and one introducing Mr. Henry Leslie's celebrated choir. Gluck's opera with full chorus has been twice recited, and Weber's Der Freischutz once, and for these, and for the concerts generally, the very best vocal artists of the day have been engaged, as the" following names show, viz... — Mad. Lind Goldschmidt, Mile. Parcpa, Mad. Sherrington, Mike. Titiens, Mad. Rudcrsdorff, Mad. Sainton-Dolby, Mrs. Sunderland, Mad. Guerrabella, Miss Armstrong, Mile. Cosselli, Mile.
Agnes Barr, Miss Palmer, Miss Banks, Mr. Sims Reeves, Signor Bclletti, Mr. Wilbye Cooper, Mr. Weiss, Mr. Montem Smith, Mr. Irving, and Mr. Thomas. From this retrospective glance it is easy to see that such concerts, besides conferring a great deal of rational and pure enjoyment, must have the effect of raising public taste, and of acting upon the moral character through the refining influences of good music. Great stress was justly laid upon the refining influences of art, when, in 1857, the Art Treasure's Exhibition was opened with its countless artistic treasures, and its beautiful and truthful motto, ' A thing of beauty is a joy for ever;' but musical art is more powerful for good than even painting, and contains, also, its countless treasures, waiting only fitting means and appliances to be brought to light. Mr. Halle, whose fine taste would lead him instinctively to what is good, even if his knowledge and experience as R musician were less than they are, has done much, and is, we venture to hope, destined to do more."
We read the subjoined in The Aberdeen Journal:— "At the ordinary meeting of the Aberdeen Choral Union, Mr. Latter, the conductor, was some time since presented, on behalf of the members, with an elegant gold hunting watch, in testimony, as the inscription bore, of their high esteem. Mr. Valentine, Chairman, in making the presentation, paid a deserved compliment to Mr. Latter's very high professional abilities, and also his gentlemanly personal qualities, which have made him so popular. Mr. Latter, in happy terms, expressed the high value which he placed on the gift now presented to him; stating that he felt it to be a pride and a pleasure to occupy the position of conductor of such a body as the Choral Union, in whose prosperity he felt the deepest interest. There was a full attendance at the meeting, and the proceedings altogether were of a very hearty and gratifying character."
The Manchester Examiner and Times has the subjoined:— "Saturday being St. David's Day, a concert of Welsh melodies was given in the Free-trade Hall Assembly Room, under the auspices of the Cambrian Literary Society. The red dragon of Wales, with the ancient motto Y ddraig goch a ddyry gychwyn (the red dragon leads the van), adorned the wall behind the platform; and the royal arms, supported by national flags, were displayed at the other end of the room. The principal features of the concert were the pianoforte performances of Mr . Brinlcy Richards, whose brilliant arrangements of popular melodies are in every musical portfolio, and the harp performances of Mr. John Thomas. Mr. Richard's playing is like his arrangements, clear, brilliant, and powerful. The mastery of the harp displayed by Mr. Thomas created quite an enthusiasm, and he was repeatedly encored. Indeed, encores seemed to be the rule of the evening, for there were no fewer than eight. The vocalists were Miss Kate Wynne, a promising young l ndy, whose fresh, sweet voice was heard to effect in several of the expressive melodies of her country; and a little lady whose debut should have been postponed for some years, but whose father (known among the bards as Llcw Llwyvo of Denbigh) sang in capital style a number of patriotic songs. Perhaps the most interesting portion of the entertainment was the musical curiosity peculiar to Wales, called 'penillon' singing. In this Llew Llwyvo and Idris Vychan (Mr. John Jones, of Manchester) sang alternate stanzas; and the art was for singing and harper, the former of whom is supposed to be improvising the words, to stop at the same moment, Mr. H. V. Lewis, of Liverpool, accompanied the songs on the piano. The concert concluded with the National Anthem."
A Concert was given on Wednesday evening, the 26th ult, at St. James's Hall, on behalf of the Hartley Colliery Fund. It was a veritable monster entertainment, but did not prove eminently attractive notwithstanding. The singers, players and items of the programme were so numerous as to preclude the possibility of our doing more than mentioning a few of the most prominent performances. Among the vocalists Mad. Florence Lancia was especially noticeable for her fine expressive rendering of the scene " Softly sighs " from Der Frieschutz; Miss Stabbach for her admirable singing in a new song, entitled "The mourning bride;" Mile. Gcorgi for her agreeable voice, and the commendable method exhibited in the scena "O Mio Fernando " from the Favorita; Miss Robcrtinc Henderson, for her clear voice and pure expression in Herr Bauer's "Gondoliero;" and the sisters Alessandri, for their compact ensemble singing in Gabussi's duetto " J,a Zicgarc." Rossini's Grand Coro " La Carita," by all the female singers, did not go so well as a few rehearsals might have made it. The special instrumental feature was a grand quartet fur four performers, ou two pianofortes, the composition of Herr Ascher, executed by Messrs. Harold Thomas and Ernest Bauer, Lindsay Sloper and Wilhclm Ganz.
NE W EDITION.
THE VOICE AND SINGING
(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARI.
WHEN this Book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of hi- precepts, and the conciseness and practical value or his examples and exercises, of which every note is dictated by a clear and definite purpose. The Influence of Signor Ferrari's method of forming and cultivating the voice, as it is explained In this treatise. Is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day; and this work lias consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom. In this new edition the author has nude various important additions to the work, especially to the Exercises. Formerly thev were confined to soprano or tenor voices; exercises for one voice being also available for the other. Out, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means
of entirely new exercises, partly by giving the old exercises likewise in transposed keys and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative puMgei in rmall notes. By these means the ^imt^of
the work is very greatly increased. We have said that the remarkable qualities of this book are toe author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader— Daily News.
London; Published, price 12s., by
AIRS, BALLADS, &c. IN THE OPERETTA
"O NO E TOO OFTE N."
COMPOSED 1IY HOWAHD GLOVER.
'T6e Solemn Words His Lips HAVE SPOKEN."
Grand Air. Sung by Mile. Jenny Baor (?
"THE LOVE YOU'VE SLIGHTED." Ballad. Sung by
Mile Jenky Bade
• STRATAGEM IS WOMAN'S POWER." BaUad. Sung
by Miss Emma Hbywood
"LOVE IS A GENTLE THING." Ballad. Suug by
Miss Emma Heywood
"A YOUNG AND ARTLESS MAIDEN."
Sung by Horr ReieiiARDT
"THERE'S TRUTH IN WOMAN STILL" Romance.
Song by Hcrr Reiciiardt
■ THE MONKS WERE JOLLY BOYS." Ballad.
by Herr Formes
"IN MY CHATEAU OF POMPERNIK. Aria Buffa.
Sung by Herr Formes
QUADRILLES AND WALTZES.
"Fontainbleau Quadrille," by Carl Strauss
"La Belle Blanche Waltze," ditto
In the Press.
Brinley Richards' Fantasia, or, "Once too Often."
"Mr. Glover's operetta is a decided, and, what l> better, a legitimate, 'hit.' Hie song* before us have already attained a well-merited popularity. 'The monks were jolly boys'Is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. 'The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is 1 A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, Is 1 Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The
'■■<«<■ We shall look with real
opening holds out a promise which the sequel entirely fulfils interest for the remaining pieces of " Once too Often.' —Muticat World.
I NAVTGA1TTI (The Mariners).
BY ALBERTO RANDEGGER.
"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso and soprano), in the order in which they euter, has an effective solo, followed by an tnumbU (or tulti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, ' sotto voce,' the effect of which, If smoothly rendered by three good singers, must be as charming as it is new. The more of such 'terzettinos' the betur."—ifsinca/ World.
Lohdoh: DUNCAN DAVISON & CO., 244.Regent Street, W.
THE PURITAN'S DAUGHTER.
A GRAND ROMANTIC OPERA IN THREE ACTS;
THE LIBRETTO WRITTEN BY J. V. BRIDGE MAN;
THE MUSIC COMPOSED BY
M. W. BALFE.
COMPLETE—PRICE TWO GUINEAS.
Recit. & Chorus,'
"Here's to wine, and here's to beauty."
"Hale, hate." T. a
"I would ask a question " (Comic) - - S. B. "My own sweet child." ----- B.
"What glorious news" (Comic) - B.
lith Solos, "Let us haste." - - - Soprani. "By earth and air." .... Male Voices.
"what do we see?" ------
"Oh, father, pity 1" - - - S. B.
"Oh, reflect ere you decide." - - - S. B. *' Pretty, lowly, modest flower." - - - S.
"Bliss for ever past." - - - - S.orB.
Favourite Airs from Balfe's Opera, " The Puritan's Daughter," arranged by'
W. 11. Callcott, in 2 Books Solos, 6s.; Duets 6 0
W. H. Holmes's Fantasia, "The Puritan's Daughter ". -40 Brinley Richards's " Bliss for ever past." -30 Brinley Richards's Fantasia on the Favourite Airs - - - - - .40
Galop, from " The Puritan's Daughter," arranged by C. Coote - - - - 3 0
The Storm Valse, from "The Puritan's Daughter," arranged by C. Coote - 4 0
Other Arrangements in the Press.
THE MUSICAL STUDENT'S MANUAL, Combining the Essential Elements of Musical Knowledge, with a succinct guide to the reading of Vocal Music, by Thomas Men By, Editor of the "Golden Wreath/' "New Tunes to Choice Words," Ac.
Div. I Relating to Sound, pp. 136, price 2s.
Dm . 11.—On Rhythm, to complete the Work, will be published shortly.
The " Manual " is used as a text-book at the Borough Road, Stock well and. Westminster Training Colleges.
*' One of the beit elementary books for learning music, as a science, that we hare yet seen. It is very cheap."— Globe.
"The subject is treated with clearness and ability. The difficulties of almost every page are cleared up as the journey proceeds, and the learner feels himself In company with a fellow-student, who, being slightly lu the advance, blandly beckons him on."— Critic,
"New Tunes to Choice Words." Second Edition. 32 Easy, Original, Juvenile four-part Songs, cloth 8vo, Is. 6*J.
"So widely known and prised in schools."—Educational Accord.
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KUHLE: -- Victoria. Gerard Brillian
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LLER, STEPHEN. Deuxième Canzonette. Price 48.
CRAMER, BEALE & Wood, 201 Regent Street, W.
NAPOLEON, ARTHUR. Andante Finale, from Lucią
di Lammermoor, Op. 2. Price 38. 6d. TRUHE. – VICTORIA. Grand Brilliant Fantasia on
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(ALLCOTT, W. H. Simon Boccanegra. Favourite SYDNEY SMITH.-LA HARPE EOLIENNE.
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do. Price 4s.
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MA WON'T BE Grow Reg
LONDON: ASHDOWN & PARRY.
AND 67 CONDUIT STREET; Also, 207–209 REGENT STREET.
THE LILY OF KILLARNEY,
A ROMANTIC OPERA,
DION BOUCICAULT AND JOHN OXENFORD,
THE OPERA COMPLETE, BOUND IN CLOTH, 258.
$. d. OVERTURE - - - - - - 40 SONG—A bachelor's life. (Hardress) DUET — The moon has rais'd the lamp above. (Hardress
and Danny Mann) - - - - - 2 6 SONG _The above arranged as a song . - . 2 O SONG- It is a charming girl I love. (Myles). (n B flat and in A
. - SONG – In my wild mountain valley. (Eily). In D minor
and in C minor - - - - - - 26 SONG, with CHORUS, ad lib.—The Cruiskeen Lawn · 2 6
ACT II. CHORUS— The Hunting Chorus . . . . 3 6 AIR and DUET — The eye of love is keen. (Ann Chute and Hardress) - -
• 4 0 SCENA — A lowly peasant girl. (Danny Mann) - - 36 ROMANCE (separately) — The Colleen Bawn. (Danny Mann) • •
- 2 6 BALLAD—I'm alone. (Eily). In E flat and in C - 2 6 DUET - I give the best advice. (Eily and Myles) • 4 0
s. d. THE OVERTURE. Arranged by the Author The FAVOURITE Airs. In two Books. William Hutchins Callcott
- - - Ditto. As Duets. In two Books. William Hutchins
Callcott - : - - - ..
- 4 0 Ditto. As Duets . . . .
. 4 0 SET OF QUADRILLES. “ The Cruiskeen Lawn Pierre
Laroche. Illustrated by Brandard - - - 4 0 WALTZ. “Eily Mavourneen.” Charles Coote. Ilustrated
by Brandard - - - - . • 4.0 Set or Waltzes. Pierre Laroche. Illustrated by Brandard 40 GALOP. Pierre Laroche • : ..
• 2 6 BRINLEY RICHARDS, “Eily Mavourneen”
“ I'm alone"
“ The Cruiskeen Lawn" Kune. Fantasia on favourite Airs ·
, Grand Waltz . . . G. A. OSBORNE. Fantasia on favourite Airs “Ricordanza”
. MADAME OURY. Fantasia on favourite Airs LINDBAY SLOPER. Fantasia on favourite Airs RIMBAULT. Six favourite Airs, casily arranged : No. 1. “In my wild mountain valley” .
: ! O 2. “The Lullaby" - 3. "It is a charming girl I love"
. 10 4. “Eily Mavourneen"
- 10 5. “I'm alone"
“The Colleen Bawn”
ACT III. SONG— The Lullaby. (Myles). In A and in F . • 2 6 TRIO— Blessings on that rev'rend head. (Eily, Myles and
Father Tom.) In D and in D flat - - - 3 0 DUET — Let the mystic orange flowers. (For two equal
voices) . . . . . . . 2 6 BALLAD_Eily Mavourneen. (Hardress). In F and in D 2 6 RONDO FINALE-By sorrow tried severely. (Eily) - 2 6
CHAPPELL & CO., 50 NEW BOND STRE ET.. OPENINGS OF ORGANS
CONACHER & CO. ORGAN BUILDERS, HUDDERSFIELD.
THE NEW ORGAN BY CONACHER & CO. FOR THE BAPTIST CHURCH, DERBY, will be OPENED on APRIL 3.
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on APRIL 27.
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will be OPENED on MARCH 16.
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will be OPENED on MARCH 23.
THE NEW ORGAN BY CONACHER & CO. FOR
· N.B.-Several more ORGANS are in hand, and due Notice will be given of the respective OPENINGS.
crated by GEORGE ANDREW SPOTTISWOODE, of No. 12 James Street. Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No. 5 New-street Square
to the Parish of St. Bride, in the City of London. Published by JOHN BOOSEY, at the Office of Boosby & Sons, 28 Holles Street, Saturday, March 8, 1869.,